Unique Images and Themes in Ai Qing's Poems
Every original poet has his own image: this image embodies the poet's unique feelings, observation and understanding of life, and embodies the poet's unique thoughts and feelings. The central images in Ai Qing's poems are: the earth and the sun.
The image of "land" embodies the poet's deepest love for the motherland. Patriotism is an inexhaustible theme in Ai Qing's works. The most touching expression of this feeling is his I Love This Land.
Our motherland is poor and backward, full of disasters; Living in this land, there is more pain than joy, and there are too many "sorrows and indignation" in our hearts, "the angry wind blows endlessly"; However, this is the motherland where I was born and raised! Even if I die for her, I don't want to leave this land-even "feather" will rot in the land after "death", which expresses the greatest and deepest unforgettable and never-ending patriotic feelings; This feeling is typical and common among modern China people. "Why do I often have tears in my eyes? Because I love this land deeply … ",these two poems by Ai Qing are true and simple, but they come from the poet's heart and national life, so they have immortal artistic vitality.
The image of "land" also reflects the poet's deepest love for the workers who were born, cultivated and died in Sri Lanka, as well as his concern and exploration of their fate. Ai Qing said: "The infinitely rich rural life in this infinitely vast country-old or new-needs it to occupy an important space in new poetry." Ai Qing's most authentic poems are dedicated to farmers in China: his famous work "Wild Goose River-My Nanny" is an ode to his real mother-a kind and unfortunate ordinary peasant woman in China. "Dayanhe", the author said that she didn't have her own name, "her name is the name of the village where she was born", and she raised "I" with her own milk. This description comes from life, but at the same time, it gives "Dayan River" a certain symbolic meaning, which can be regarded as the embodiment of people who will always be accompanied by mountains and rivers, or the embodiment of farmers in China. When describing the fate of Dayan River, the author still emphasizes her commonness and universality: not only her joy is ordinary, but also her suffering is ordinary and universal. This is the image of a "silent" mother earth and the nurturer of life: silence includes generosity, kindness, simplicity and perseverance. In this way, in Ai Qing's works, "Dayan River" has become a combination of multiple images of "earth", "mother (wet nurse)", "farmer" and "life". This poem can be regarded as the declaration of Ai Qing's poetry: his supreme poetic god is the ordinary people in China who raised him with farmers as the main body, and their lives exist. In later poems, the poet always focused on the fate of ordinary farmers who were integrated with the land of China. So, he wrote down the pain of the "land farmers" being ravaged: "Snow falls on the land of China, and the cold is blocking China", "Hungry land, facing the dark sky, stretches out trembling arms to beg for help" (Snow falls on the land of China), "In the north, beggars stare at you with stubborn eyes and watch you eat any food. The poet even wrote "the hot wind swimming in the center of the earth" and the resurrection of "the land-farmers": "The land we once died has been resurrected under the clear sky!" "In its warm chest, it will be the blood of fighting that circulates again" (land of resurrection). With the progress of history, the poet finally wrote the turning over and liberation of "land-farmers": "Clouds come from the east, it is raining, from east to west, from south to north, the rain is sprinkled on the Central Plains of Hebei", "It is raining everywhere, and it seems to be laughing everywhere" (Spring Rain). It is through the description of the pain, resurrection and liberation of the land that the poet really wrote the soul of China rural reality.
The image of "the sun" shows the other side of the poet's soul: passionate and endless pursuit of light, ideal and a better life. The poet once said: "Everything that can promote the upward development of mankind is beautiful, kind and poetic." It is from this aesthetic thought that poets have been singing enthusiastically for decades: sun, light, spring, dawn, life and flame. This is Ai Qing's "eternal theme". The best ode to light written in this period is To the Sun and Dawn Notice. To the Sun is a poem with nine sections and four paragraphs. In sections 1 to 3, "I" comes from yesterday: "Yesterday" I lived in a "mental prison" and "I was chased by endless storms and haunted by endless nightmares"-this is a high summary of the fate of the people in old China. In verses 4 to 5, the song of the sun is sung in front. This is a "Song of the Sun" of a "modern city". What the poet wants to pursue and express is a new ideal of a modern society. Therefore, what people get from the sun is: creative labor, democracy, freedom, equality, fraternity and revolution. The sixth to seventh sections eulogize the awakening of the motherland and the rebirth of the people in the new period of the Anti-Japanese Liberation War under the sun. The poet focused on the images of wounded soldiers, girls, workers and soldiers in real life and wrote their new mental outlook. Section 8-9, turn to write your own inner feelings and transform your soul in the new era: bid farewell to loneliness, hesitation and sadness, bravely move towards the sun and move towards a new life. This poem eulogizes the new life brought to the nation by the Anti-Japanese Liberation War from a unique angle. Dawn Notice announces the arrival of a new era in a more optimistic and clear tone: "Please tell them what they are waiting for is coming!" "Here, the poet is a prophet of an era and a caller of an ideal world.
With the passage of time, the research interest in May 4th literature will increasingly turn to literature itself. The enlightenment significance left by Guo Moruo's Goddess to later generations may be mainly in the form of new poems. A series of attempts and breakthroughs in the exploration of rhythm and prosody in new poetry show that the dispute between "liberalism" and "metrical school" in new poetry is not the confrontation between the two armies described in the history of literature, but closely related to the poet's creative personality.
Keywords Guo Moruo's "Goddess" explores the poet's creative personality in the form of new poems
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With the end of the 20th century, the May 4th New Poetry, which was born at the beginning of this century, will leave some legacy for the new century. We can't manage this legacy now, but it is almost certain that the longer we go, the more we pay attention to literature itself.
As one of the important achievements of May 4th new poetry, Guo Moruo's early poetry creation, represented by Goddess, has always been generally regarded as the real beginning of modern new poetry history. For a long time, researchers have repeatedly talked about the image of self-lyric, the spirit of bold rebellion and the consciousness of complete liberation infiltrated in the content and form of Goddess, in order to-and use it to find out all kinds of spiritual connections and enlightenment significance between it and the May 4th era. However, when people talk about it for more than half a century, they may find that their views have not really surpassed those in Wen Yiduo's Spirit of the Times 1922. At the beginning of this paper, it is concluded that the "novelty" of the goddess is "the most important thing is that her spirit is completely the spirit of the times-the spirit of the late 20 th century." "That is, the uniqueness of Goddess lies in its thrilling spirit, which makes the new poem worthy of that great era. Then, Wen Yiduo accurately analyzed the inner spiritual connection between the wild and unruly self in the poem and the youth of the May Fourth Generation. " Now the youth in China-the youth in China after the May 4th Movement, their troubles and worries are really in full swing. They think the universe is as cold as iron, as dark as paint, and as smelly as blood, and can't stay for a second. They hate the world and themselves. So impatient people commit suicide and patients try to innovate. "Then at such a moment," suddenly, a man sang all this for them with the bottom of the waves and the bottom of the thunder. "This person is Guo Moruo, singing the goddess." Therefore, Wen Yiduo pointed out that the dazzling new self in Goddess is not "unique to poets, but a lifelong relationship, especially shared by young people" [1].
Now, the thunder of the 20th century has faded away, and at the turn of the century, life will continue. With the passage of time, a question will inevitably be raised, that is, whether Guo Moruo's early poetry creation has a longer-term enlightenment significance besides obvious characteristics of the spirit of the times or symbolic significance? If not, it will be sealed in a page of history sooner or later; If so, where is it?
Obviously, this enlightening significance should be found in the form. Guo Moruo's contribution to the liberation of the form of new poetry is well known. Zhu Ziqing has clearly pointed out that an important difference between the May 4th New Poetry Revolution and the modern "Poetry Revolution" is that "new poetry starts with the liberation of poetic style" [2]. The first person who led to the unprecedented liberation of poetic style was Guo Moruo. After a short attempt by the early vernacular poets represented by Hu Shi, Guo Moruo's Goddess formally ended the naive state of early new poetry with a high degree of freedom and unrestrained lines, which made new poetry truly gain a free life. This important contribution of Goddess is not only of epoch-making significance in the history of new poetry, but also will inevitably serve as a historical heritage to stimulate the development of new poetry forms in the future.
However, although researchers have long noticed Guo Moruo's outstanding contribution to the liberation of new poetry forms, it seems that this contribution is more included in the description of history. As early as the 1930s, Zhu Ziqing divided his different opinions and attempts on the form of new poetry into two categories in the Series of Introduction to China's New Literature and Poems. One school advocates freestyle new poetry, while the other advocates metrical new poetry. This generalization may be to describe the basic situation of the dispute over the form of new poetry in the 1920s, but since then, the research ideas of literary historians have always followed Zhu Ziqing's point of view without thinking, and it seems that no one has ever thought of crossing the line. Therefore, according to the description in A General History of New Poetry, we know that the Free Poetry School and the Metric Poetry School began to form in the 1920s, each with its own standard bearer. Of course, Guo Moruo was the standard-bearer of the free verse school, and the later crescent poets were the typical representatives of the metrical poetry school. These two schools of poetry have repeatedly argued, each holding its own end, and their context is clear, and their representatives can be found in almost every era. Their actual influence has also increased and decreased with the times, and they will continue to argue endlessly.
Literary historians have gained clues and passion to grasp literary phenomena at a high level, but the question is, why do poets continue to oppose each other like this from generation to generation? The poet may have advocated something in theory and even called for it loudly, but this is not the golden rule of his own creation, let alone others'. These thoughts may be personal experiences, feelings, some ideals, or they may be related to the poet's specific social and political stance and attitude. But in any case, when the poet started writing, all these background factors retreated, and the only thing that excited them was the impulse and desire to express as perfectly as possible. In fact, the better the work, the more free it looks and the less self-restriction. One of Guo Moruo's early representative works, Tianjie, is an example.